Considerando o Leitmotiv um dos procedimentos dramáticos mais importantes para a composição musical, contido nas obras artísticas e teóricas do encenador alemão Richard Wagner, o presente trabalho investiga a possibilidade de seu emprego prático em obras teatrais contemporâneas e não dramáticas. Realiza-se, em um primeiro momento, um estudo sobre as definições e arqueologias do termo localizadas no gênero dramático operístico. Acompanha tal estudo, a abordagem das acepções do gênero dramático na linguagem operística e teatral, adotando como norte teórico pensadores como Immanuel Kant, Joseph Kerman e Peter Szondi. A fim de atualizar os possíveis sentidos do termo na produção teatral contemporânea, associamos ao Leitmotiv os conceitos de: Esquizofonia, difundido pelo compositor Raymond Murray Schafer; Environment, desenvolvido pelo criador Renato Cohen; e, por fim, o conceito de Ritornelo, dos pensadores Gilles Deleuze e Félix Guattari. Ainda, associamos os conceitos contemporâneos a três espetáculos teatrais de produção recente: a adaptação ucraniana da obra Woyzeck de Georg Büchner, feita pelo encenador Andriy Zholdak; a instalação operística Trem Fantasma, concebida pelo alemão Christoph Schlingensief a partir da ópera Navio Fantasma, de Richard Wagner; e a obra em episódios do grupo norte-americano Nature Theater of Oklahoma, encenada por Pavol Liska e Kelly Copper, intitulada Life and Times. A fim de investigar o procedimento no âmbito da criação artística, realizamos um estudo sobre os processos de criação dos espetáculos Manter em local seco e arejado e Mantenha fora do alcance de crianças, ambos do grupo paulistano [pH2]: estado de teatro, encenados pelo pesquisador, que possuem como metodologia principal a ideia central da dissertação: a encenação de Leitmotive. / The Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive.

Considerando o Leitmotiv um dos procedimentos dramáticos mais importantes para a composição musical, contido nas obras artísticas e teóricas do encenador alemão Richard Wagner, o presente trabalho investiga a possibilidade de seu emprego prático em obras teatrais contemporâneas e não dramáticas. Realiza-se, em um primeiro momento, um estudo sobre as definições e arqueologias do termo localizadas no gênero dramático operístico. Acompanha tal estudo, a abordagem das acepções do gênero dramático na linguagem operística e teatral, adotando como norte teórico pensadores como Immanuel Kant, Joseph Kerman e Peter Szondi. A fim de atualizar os possíveis sentidos do termo na produção teatral contemporânea, associamos ao Leitmotiv os conceitos de: Esquizofonia, difundido pelo compositor Raymond Murray Schafer; Environment, desenvolvido pelo criador Renato Cohen; e, por fim, o conceito de Ritornelo, dos pensadores Gilles Deleuze e Félix Guattari. Ainda, associamos os conceitos contemporâneos a três espetáculos teatrais de produção recente: a adaptação ucraniana da obra Woyzeck de Georg Büchner, feita pelo encenador Andriy Zholdak; a instalação operística Trem Fantasma, concebida pelo alemão Christoph Schlingensief a partir da ópera Navio Fantasma, de Richard Wagner; e a obra em episódios do grupo norte-americano Nature Theater of Oklahoma, encenada por Pavol Liska e Kelly Copper, intitulada Life and Times. A fim de investigar o procedimento no âmbito da criação artística, realizamos um estudo sobre os processos de criação dos espetáculos Manter em local seco e arejado e Mantenha fora do alcance de crianças, ambos do grupo paulistano [pH2]: estado de teatro, encenados pelo pesquisador, que possuem como metodologia principal a ideia central da dissertação: a encenação de Leitmotive. / The Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive.

Split Soundscape est un projet artistique d’installation sonore inspiré par les notions de paysage sonore et de schizophonie introduites par le compositeur R. Murray Schafer. Ce projet artistique propose la reconstitution de l’espace sonore en temps réel par un double dispositif : des microphones disposés dans un territoire captent et transmettent leur environnement sonore par internet en temps réel (technique du streaming). Dans un espace d’exposition dédié à l’écoute, des haut-parleurs diffusent les sons transmis et construisent un espace nouveau.La recherche interroge la notion d’espace dans sa définition géographique, sociale et philosophique. La notion de paysage sonore est définie, remise en question, et mise en perspective par l’archéologie sonore et l’espace sonore dans sa dimension sociale, deux notions qui nous amènent à considérer l’écoute comme centrale dans la réception et la construction du paysage sonore. La notion de schizophonie (la séparation d’un son originel de sa reproduction), est définie et mise en perspective avec celle d’objet sonore et comme avatar de la reproductibilité technique.Le travail artistique est situé dans le champ de la création sonore et contemporaine, et particulièrement dans son rapport aux notions de flux, d’indéterminisme et de composition. Dans le contexte du doctorat « pratique et théorie », l’aspect pratique de la recherche est évoqué, et l’évolution du projet plastique est présentée à travers des expérimentations inspirées de la recherche théorique. / Split Soundscape is a practice based research project that revisits the concepts of Soundscape and Schizophonia originally introduced by the composer R. Murray Schafer. The artistic practice consists of a series of sound installations that focus on the reconstitution of sound space in real time. A number of “Open” microphones located in given territories are employed to transmit the local sonic environment via the internet in real time (using audio streaming technologies). A new soundscape is composed from these transmitted soundscapes and played through loudspeakers in a dedicated (exhibition) listening space. The theoretical research investigates geographical, sociological and philosophical definitions of space. The concept of soundscape as defined by Schafer is called into question and reconsidered from the perspective of sound archeology and as a social construct. This in turn, leads to the positioning of listening as being central in the construction of soundscape. The notion of Schizophonia (the separation of an original sound from his technical reproduction) is examined in detail and compared with Pierre Schaeffer’s definition of the sound object or objet sonore as an alternative consequence of mechanical reproduction. The artistic practice is contextualized in relation to the field of contemporary sound art and more specifically the concepts of flux, indeterminism in composition. The tools developed to facilitate the practice are described, and the evolution of the art project is presented as a succession of experiments informed by the academic research.